The goal of this examination paper has been to, within the field of acoustic design, find new ways for theLandscape Architect to approach the design of complex outdoor environments. With the main purpose to increase knowledge about the creation of good outdoor environments both for the author herself and within the field of environmental design, two main research questions have been defined:How can I as a Landscape Architect utilize acoustic design in my design work, to focus on what I can hear ratherthan what I can see?How is the Landscape Architect’s design process affected by this new perspective, when working to improve anexisting, complex landscape in the city?To answer these questions a litterature review and a case study have been conducted, in order to first acquire existing knowledge on the subject and then put it to test in practice. The litterature review is presented as a theoretical background, where theory on the Landscape Architect’s mission and design process together with theory on soundscape and acoustic design is introduced. The concepts of recreational everyday landscape and urban traffic swath respectively are also examined, since these form the context for the case study. The case study consists of a design mission with goals defined in a design program, and in the search for solutions methods and tools for acoustic design is examined in relation to the particular context and the design process which the Landscape Architect in question has grown into during her education.

The tool ”An approach to the acoustic design of outdoor space” (Brown & Muhar 2004) becomes particularilysignificant in the case study, and the experiences gained through using it is later discussed in relation to theoryon and experience of the Landscape Architect’s design process. The study shows that Brown & Muhar’s tool isone of several interesting methods that the Landscape Architect can use to shift focus from what can be seen towhat can be heard, but also that there is potential to develop these methods further to increase theirusability. After experimenting with combining the different methods with each other and with other tools that the Landscape Architect is accustomed to, it is seen that the perspective of the acoustic designer can enrich the design process particularily in the analytical phase, where sound can prove significant in the understanding of a place.

It is also clear that the addition of a completely new perspective probably increases the need to prioritize amongdifferent values and aspects both in physical space and in the design process. However, there is a lot to gain inshowing the aspect of sound more attention because of the relationship between our sonic environment and ourhealth among other things. Sound and acoustic design are resources which Landscape Architects can put good use of in their strive to create good outdoor environments, and the conclusions presented in this study can be seen as an encouragement to everyone within the field to dare to try new perspectives on design.